Then she vanished again; and a year later my wife and I were seeing my brother off to Posen, and when the train had gone, and we were moving toward the exit along the other side of the platform, suddenly near a car of the Paris express I saw Nina, her face buried in the bouquet she held, in the midst of a group of people whom she had befriended without my knowledge and who stood in a circle gaping at her as idlers gape at a street row, a lost child, or the victim of an accident. Brightly she signaled to me with her flowers; I introduced her to Elena, and in that life-quickening atmosphere of a big railway station where everything is something trembling on the brink of something else, thus to be clutched and cherished, the exchange of a few words was enough to enable two totally dissimilar women to start calling each other by their pet names the very next time they met. That day, in the blue shade of the Paris car, Ferdinand was first mentioned: I learned with a ridiculous pang that she was about to marry him. Doors were beginning to slam; she quickly but piously kissed her friends, climbed into the vestibule, disappeared; and then I saw her through the glass settling herself in her compartment, having suddenly forgotten about us or passed into another world, and we all, our hands in our pockets, seemed to be spying upon an utterly unsuspecting life moving in that aquarium dimness, until she grew aware of us and drummed on the windowpane, then raised her eyes, fumbling at the frame as if hanging a picture, but nothing happened; some fellow passenger helped her, and she leaned out, audible and real, beaming with pleasure; one of us, keeping up with the stealthily gliding car, handed her a magazine and a Tauchnitz (she read English only when traveling); all was slipping away with beautiful smoothness, and I held a platform ticket crumpled beyond recognition, while a song of the last century (connected, it has been rumored, with some Parisian drama of love) kept ringing and ringing in my head, having emerged, God knows why, from the music box of memory, a sobbing ballad which often used to be sung by an old maiden aunt of mine, with a face as yellow as Russian church wax, but whom nature had given such a powerful, ecstatically full voice that it seemed to swallow her up in the glory of a fiery cloud as soon as she would begin:

On dit que tu te maries,

tu sais que j’en vais mourir